A Quote by Gabriella Wilson
As a black woman, I've always had to work hard to earn my respect as a musician - and as a young woman, too. As a writer, in certain sessions or certain rooms people think, 'Who's kid is this? Who's this little girl?' I've had to prove myself.
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When I went back home, I was constantly being reminded, I'm an African woman, and so there are certain things I shouldn't do, certain ambitions that I should not entertain. That was a problem for me because I had never thought of myself as an African woman, never thought of myself as a woman to begin with. For me the limit was my capacity, my capability.
So when it comes to being a role model to women, I think it's because of the way that I feel about myself, and the way that I treat myself. I am a woman, I treat myself with respect and I love myself, and I think that if I'm holding myself to a certain esteem and keeping it real with myself, then that's going to translate to people like me.
I tell people too young to know that we came up during two of the most dogmatic times in recent history - the so-called hippie era and the punk era, both of which had a set of codes and rules that you had to look and dress and think a certain way, and for sure, to be of a certain age.
I used to joke for years that I was a black man. I adopted the black culture, the black race. I married a black woman, and I had black kids. I always considered myself a 'brother.'
Personally, especially as a young black woman, I didn't think that Los Angeles was a place for me to start. There's a certain type that they go for or don't.
I had to earn the respect from everybody, from referees to opponents, but my teammates, they saw some European guy coming here and I had to prove myself. Luckily, I proved myself, but with big help from the entire Lakers organization.
I just think of myself as a writer. Yes, I'm a woman. And I'm a writer. The main challenge is that I like to write stories about young women, and society doesn't place much of a premium on young women's stories. And I think that's why I gravitate towards it. I really honor that, and I treasure that time, and they should be given that respect.
No black woman writer in this culture can write "too much". Indeed, no woman writer can write "too much"...No woman has ever written enough.
I figured that if we had to choose the woman president, she'd be the first woman president, and if we had the kid from Honolulu and the Harvard graduate, we'd have the first black president. They were both lawyers, and they knew the law, and I saw Obama and said that he's got some vision, and that's what a lot of people are latching on to.
When I think about women of color and their place politically in the world and culture... they've had two layers of just garbage to overcome. To me, a black woman is a woman-woman.
Every time a young girl comes in and asks me for advice, if you start your conversation with, 'How hard is it as a black woman,' or, 'How hard is it as a woman,' I turn you around. Because I cannot - we cannot look at the roadblocks and see the road at the same time.
I had a fistfight with every kid on my block. I got about fifteen broken noses to prove it. Part of it was also because I was always drawing, and I always had an artist portfolio with me. But I was a tough kid. I won their respect.
I used to think that I could be successful if I pretended to be a 23-year-old black woman. I wanted to find a young black woman who would be willing to go in on this with me. I would write her novels, and then she would do the touring. I always thought I was too old and the wrong color.
Amongst black people, you have always heard it said that once a black man reaches a certain level, especially if you are an entertainer, you get a white trophy woman. I didn't make that up.
I try not to think of myself as a woman filmmaker. I don't look for women influences. I have noticed in the past few years that there is a certain ceiling that a woman filmmaker can reach. I don't believe that it's sexism per se, but there are certain expectations in the industry about what films should be, how they should be made, what stories they should tell, and it's a habit, it's a tradition.
But the thought arrived inside her like a train: Marya Morevna, all in black, here and now, was a point at which all the women she had been met—the Yaichkan and the Leningrader and the chyerti maiden; the girl who saw the birds, and the girl who never did—the woman she was and the woman she might have been and the woman she would always be, forever intersecting and colliding, a thousand birds falling from a thousand oaks, over and over.
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